xt7qjq0stw34_5437 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/mets.xml https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474.dao.xml unknown archival material 1997ms474 English University of Kentucky The physical rights to the materials in this collection are held by the University of Kentucky Special Collections Research Center.  Contact the Special Collections Research Center for information regarding rights and use of this collection. W. Hugh Peal manuscript collection Owen Johnson letters, with clippings text 43.94 Cubic Feet 86 boxes, 4 oversize boxes, 22 items Poor-Good Peal accession no. 11453. Owen Johnson letters, with clippings 2017 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474/Box_63/Folder_21/Multipage28718.pdf 1844-1867, undated 1867 1844-1867, undated section false xt7qjq0stw34_5437 xt7qjq0stw34 Mn. OWEN JoNeS—-.Wo have to record the
death of this distinguished artist and antiquary, an event
which occurred on Sunday last, at the house he had so
long occupied in Argyll—p ace, Regent-street. 0E \Vclsh
descent, Mr. Jones was born in Wales in 1809, and, show-
ing an early inclination for art, he became a pupil of Mr.
Lewis Vulliam ,tho well-known architect and ornamontist.
Having studiet for some time under this artist, Jones pru-
ceeded to make u tour—which lasted nearly four years—411
Egypt and the Levant. In 1834 we find him in Spain,
where he may be said to have discovered the Alhambra.
\V'ith M. J. Goury, author of “ Views on the Nile,” and
an able French student in his own line, Mr. Jones
began the work on the palace fortress which has since
become universally famous. The well-known “ Plans,
Elevations, Sections, and Details of the i'Llhainbra,” wi h
an historical notice by M. I’aseuai do Uayangos, the dis—
tinguished scholar and antiq ary, appeared in parts, and
the issue begun in 18:, l‘he publication of it was com-
pleted in 1845“ The preparation of this celebrated work
was carried on, after the death of ill. Goury, by Owen
Jones, who devoted himself entirely to the task, not only
of drawing the details, t'Lc., but of )rinting in colours the
plates when they were prepared. In 1842 appeared
‘1‘ Designs for Mosaic and Tesselated Pavements.” In 18-16,
“ The .l.’olychromatic Ornament of Italy” was issued, com-
prising examples of frescoes and decorative works of the

. eenth century. Mr. Jones had previously prepared n
pl 1 for the decoration of the pavements of the Houses of
Parliament, which attracted great attention at the time.
His lmowlodge and activity were shown in many ways, and
he was appointed a Superintendent of the \Vorlrs for the
Great Exhibition, 1851, and took an energetic part in the
decoration and arrangement of the building. The principles
of decorative design which are justly associated with his
name were first comprehensively declared in an essay,
entitled “ An Attempt to Define the Principles which
Regulate the Employment of Colour in Decorative Arts,”
185:! He brought the principles thus described before the
public in lectures delivered at various places, and, on the
whole, succeeded in establishing his views so that they
were accepted by most people for a considerable period ;
and he became the chief authority in works of the kind.
In 1852 he was appointed director for the decoration of the
Crystal Palace, and, with Sir D. Wyatt as his coadjutor,
visited most of the fine examples of ancient decoration
which exist on the Continent. In the course of these
journeys the greater part of the casts and other re )roduc-
tions which still give a solid value to the built ing at
Sydenham were collected. He designed the decorations for
the Egyptian, Greek, Roman, and Alhambra Courts in the
Palace, and superintendcd the decoration of the whole
building. These works caused much controversy, and the
artist published an interesting and valuable “ Apology ”
for what he had produced. As it turned out, however,
these decorations did not aid the author in gaining accept-
ance for his views. 'l‘hese tasks occupied about three years,
and, in conjunction with Messrs. Gr. Scharf and J. BOHDIIII,
he produced “ Handbooks ” to the Egyptian, Greek, and
Roman Courts, at Sydenham. 'l‘he Alhambra Court, on
which he wrote the “ Handbook," is, as might be expected,
his masterpiece in every way. Beside the works above
named, he produced, in 1847, a second edition of the
“ Alhambra," with 101 plates. In 185d, his elaborate
“‘ Grammar of Ornament” was issued ; and it still remains
a text-book of examples, if not entirely of principles. In
1864 came ” 1,001 Initial Letters,” and, in the same year,
“ 702 Monograms.” Mr. Jones’ last important publication
was “ Examples of Chinese Ornament, "‘ 1867. In the
principles of decorative art which he enunciateilfind which
guided his extensive practice, there is so much that has
found almost universalacce;.:tanco,that it is not necessary for
us to discuss them. To i'ew theorists on art, especially when
they have laid down their principles in a scientific and
logical manner, has so large a measure of success been
vouchsafed as to the able man whom we have lost. His
services were, beyond question, of high, probably of the
highest, value, and, to be able to judge them fairly, it is
only needful to loci: back at the state 1‘ his favourite
sub'ect before his tiine.—At}wm‘rum. “" 21’ ‘4’"

 

 Dsmr on MR. OWEN Jo: We regret to an-
nounce the death of Mr. Owen Jones, on Sunday evening, in
Argyllqilace. liis death on entering his [35th year is
not only a serious loss to his friends, but to that
art which he loved so well, and for which he did so
much. His hand hnd lost nothing of its cunning, nor
his invention of its fertility, so that he might still have
produced much; but what he has executed remains as a
sufficient monument of his genius and untiring industry.
He wns born in 1809, was articied to Mr. Lewis Vulliumy,
the architect, and early went to Greece and to the East,
where his artistic genius imbibed forms or" art which
ever retained a dominant influence over him. He set
himself down before the Alhambra and made siege of it.
It was he who revealed not only to Europe at large, but to
the Spaniards themselves, the glories of that unique
architectural monument, as well as the principles on which
it was constructed and decorated. into his magnificent
work on the Alhambra he not only threw all his passion as
an artist, but all his patrimony. The labour ho bestowed
was repaid him by the success of his resolution to ditiuse
the love of colour in decorative art, which in
that whitewash period was so strangely neglected,
and he was fortunate in being,r able to point to such striking
illustrations of his principles as the daring; and novel deco-
ration of the Exhibition in 18:31 and the Crystal Palace at
Sydenhnm. Of Mr. Owen Jones’s numerous illustrated pub—
lications and his architectural and decorative labours this
is not the occasion to speak, but it is worthy of mention
that the last of the many public recognitions he received
was the diploma. of. honour for -comtive desi us at the
Vienna Exhibition of 1873. , A /

 

  

  

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